The simple structure of Edward Caswall's poem provides a welcome framework upon which to set this beautiful original carol. With the viola serving as a solo voice and commenting on the choral passages this carol will provide a sense of simplicity balance and an inner peace that we all look for during the Christmas season.

(Purcell Society - Full Score)-Taken directly from the Purcell Society Volume 14. Includes string parts laid out in full.

Römische Elegie V for Baritone solo Mixed Choir SSAATTBB and Violoncello. Text: J.W.v. Goethe.

Sacred Music Part 1 Eight Early Anthems-Full Score. Purcell Society Volume 13. Edited under the supervision of the Purcell Society by Peter Dennison. This first volume of anthem brings together some of Purcell's earliest church music. None of the works is any later in date than September 1682.

Sacred Music Part 3 Seven Anthems (Paperback)-Edited under the supervision of the Purcell Society by Lionel Pike. Hardback edition available: NOV151017-01.

A work for mixed chorus and string trio (violin viola and cello) to be performed with restraint and majesty. Ikon Of Light was written for the Tallis Scholars. The first performance took place in July 1984 as part of the 1984 Cheltenham International Festival of Music given by the Tallis Scholars and the Leda Trio conducted by Peter Phillips.Duration c. 41mins.

At the start of Belgian composer Rudi Tas' haunting setting of the Miserere a solo cello rises out of a vocal cluster. The music gradually becomes more intense; the voices plead for mercy. The work ends with a fading vocalcluster that reveals the solo cello's high E.

Full Score Piano String Quartet-This moving lush and symphonic work for SSAATTBB choir with piano and string quartet has a contrasting brighter lighter feel than “Dark Night of the Soul.” Added contemporary text describes the divine spirit of all art. An outstanding work!Also available:Vocal Score: HL08501837Full Score only: HL08501839

Emily Dickinson (1830-1886)-A multi-movement work for Choir Piano and Cello from Alice Parker using several Emily Dickinson poems. The work features expertly crafted Vocals that are both complex and singable. The Piano is supportive and yet exists as its own entity. The Cello soars above as a heavenly voice. A fantastic selection for high school university and community choirs. Separate Cello part available.

The offertory “Misericordias Domini” K.222 (205a) has a special place among Mozart’s minor ecclesiastical works. A letter from Wolfgang to Padre Martini dated 4 September 1776 informs us that the piece was written in January or February 1775 in Munich at the request of the Prince Elector of Bavaria and was performed there on 5 March. Drawing closely on the carefully wrought works of Mozart’s Salzburg predecessors and incorporating a motif from Johann Ernst Eberlein’s “Benedixisti Domine” this contrapuntal masterpiece unites polyphony with expressive tension-laden harmonies. Unfortunately as the copy sent to Padre Martinicannot be located in Bologna the authenticity of the viola part is still open to question. - Urtext of the New Mozart Edition - Full score performance material (BA4789) and vocal score (BA4789-90) available for sale.

SSAATTBB with Piano and String Quartet-Inspired by the grace and passion of a medieval poem this extended work offers intense dramatic exchanges between choir piano and string quartet. Sentiments of stillness and peace are beautifully portrayed making this a memorable work for both singers and audience!Also available:Vocal Score: HL08501791Strings Quartet Score/Parts: HL08501825

Thierry Escaich : Night's birds - sur des textes de John Dowland Ch'urs à 4 voix mixtes et/ou piano/orgue et ensemble - Ch'urs mixtes Auteur : John Dowland Night's Birds, pour choeur et violoncelle, prend son inspiration dans deux chansons de John Dowland : Flow my tears et Can she excuse my wrongs, mais c'est avant tout l'atmosphère sombre et désespérée du premier poème qui guide l'évolution formelle de l''uvre. A plusieurs reprises, la rythmique plus légère, ternaire et syncopée de la seconde chanson (évoquant ce monde des passions et des luttes encore possibles) tente de s'imposer comme une sorte de souvenir à peine déformé de la version initiale de Dowland, mais à chaque fois c'est pour mieux retomber dans l'univers glaçant et sans espoir de Flow my tears, son lyrisme noir obsessionnel et ses enchevêtrements de lignes descendantes souvent chromatiques. Seule la fin laisse apparaître une sorte de sérénité mêlée d'abandon comme un chant venu d'au-delà des enfers. Le style polyphonique rappelle alors celui de la Renaissance anglaise et une musique plus diatonique conclut la pièce, à peine teintée de bribes éparses du climat précédent. Le violoncelle, après avoir été souvent intégré au discours vocal, ou avoir rivalisé avec les voix dans l'aspect déclamatoire (tel un double choeur) ou encore après avoir servi de base rythmique à l'ensemble, clôt la pièce par un chant éthéré et lent, comme une lueur dans ce nocturne tourmenté. Commande de Vocello. Création du 17 août 2016, durant le Festival du Périgord Noir à Saint-Léon-sur-Vézère, par Henri DEMARQUETTE (violoncelle) et l'Ensemble Sequenza 9.3 sous la direction de Catherine SIMONPIETRI.